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Bowlive V: Night VIII ~ Soulive w/ Bill Evans, Saunders Sermons, Mark Rivers, The London Souls, Sonya Kitchell and Wyllys @ Brooklyn Bowl (03.22.14)

Posted in Residencies, Show Review, tagged , , , , , , on March 23, 2014| Leave a Comment »

Bowlive V: Night VIII ~ Soulive w/ WOLF! feat. Scott Metzger, Bill Evans, Saunders Sermons, Mark Rivers, The London Souls, Sonya Kitchell and Wyllys @ Brooklyn Bowl (03.22.14)

Soulive: Photograph Courtesy of Calabro Music

Soulive: Photograph Courtesy of Calabro Music

Bowlive, Soulive‘s annual musical residency at the Brooklyn Bowl, has reached the conclusion of its fifth year. Eric Krasno, Neal Evans and Alan Evans started Bowlive V with a bang on Thursday, March 6, 2014, and continued to remain on top of their game for the remainder of the run. A musical residency is not an easy task to accomplish. A few years before Bowlive I, Peter Shapiro, the owner of the Brooklyn Bowl, approached Eric Krasno with the idea of holding a musical residency at some new bowling alley/music venue he was opening. At that time, Krasno didn’t see the same vision that Shapiro saw. A residency at a Bowling alley? Yet, here we are; five years later, 50 Bowlive shows deep, with another year to look forward to. Absolutely incredible. A massive congratulations is in order for these three geniuses for such an accomplishment and a massive thank you to Peter Shapiro for producing such a vision.

“When you see something and you don’t know how it’s done, that is what dreams are made of, that is what art is, and that is what inspires someone to be an artist. I can only imagine how many people were inspired by these performances.” -K.D. 

“I think night 8 was a perfect encapsulation of Bowlive! Guests nonchalantly coming and going from the stage to sit in, playing a mix of classic Soulive tunes and covers. Like I said after Night 1, Brooklyln Bowl is just 100% Soulive’s home turf and I feel like this run encapsulated it more than anything–many of the shows felt relaxed…Sometimes feeling more like jam sessions with their friends than organized concerts, and I can’t get enough. I always joke that Bowlive is Funk Camp–and despite the hearing loss, and very tired legs, I freaking miss Funk Camp. Bowlive for life! “~ B.M.

Bowlive V Logo

Bowlive V Logo

Covering eight sensational nights over the last two weeks, the members of Soulive, with the  help of The Shady Horns, delivered a wide array of new musical partnerships and memories built on trust and appreciation of one another. Many times the audience gets to experience the return of Bowlive alum and they are often lucky enough to see debut artists who begin what eventually turns into a longer relationship with the jazz/organ trio. Bowlive V did everything above and more with the help of over 35 amazingly talented guests.

2014 Bowlive V Guest List (alphabetized)

Adam ‘Shmeeans’ Smirnoff (guitarist)
Beau Sasser (organ)
Brandon ‘Taz’ Niederauer (11 year old guitar)
Bill Evans (tenor & Soprano saxophone)
Chris St. Hiliaire (drums/vocals)
Danny Mayer (guitar)
DJ Logic (turntabalist)
DMC (of Run DMC) (rapper)
Eddie Roberts (guitarist)
Eric ‘Benny’ Bloom (trumpet)
Felix Pastorius (bass)
George Porter Jr. (bassist)
James Casey (tenor saxophone/percussion)
Joe Russo (drums)
John Scofield (guitar)
Jon Cleary (keyboards)
Jon Shaw (bass)
Kofi Burbridge (flute/piano)
Marco Benevento (piano)
Mark Rivers (vocalist)
Maurice Brown (trumpet)
Nicki Bluhm (vocalist)
Nigel Hall (vocalist/keys)
Oteil Burbridge Bass)
Questlove (drummer/DJ)
Roosevelt Collier (pedal-steel guitar)
Ryan Zoidis (alto & tenor saxophone)
Saunders Sermons (trombone/vocals)
Scott Metzger (guitar)
Sonya Kitchell (vocals/guitar)
Stu Mahan (bass)
Susan Tedeschi (vocals/guitar)
Talib Kewli (rapper)
Tash Neal (guitar/vocals)
Taylor Floreth (drums)
Warren Haynes (guitarist)
Wyllys (turntabalist)

Special guests saxophonist Bill Evans, trombonist and vocalist Saunders Sermons, vocalist Mark Rivers and Sonya Kitchell, and acclaimed trumpeter Maurice “Mobetta” Brown were on call tonight for a non-stop jam session of epic proportions. It was all about the music tonight, as it is every night. The featured artists came and went from the stage as they pleased. The energy never once seemed to diffuse as the music was so crisp and tight and the friendships and relationships between the artists on stage with Soulive were completely evident. Enjoy the review…

WOLF! featuring Scott Metzger

Scott Metzger: Photo by Mark Dershowitz

Scott Metzger: Photo by Mark Dershowitz

For the final night of Bowlive V, WOLF! featuring Scott Metzger opened to an eager audience. WOLF! is a very young band, not in age but in performance mileage, having formed in 2011 with a philosophy of “Time. Tone. Taste. Touch.” The instrumental trio consists of seasoned guitarist Scott Metzger, bassist Jon Shaw, and drummer Taylor Floreth. The guitar playing talent of Metzger was undeniable as he shredded through one jamming rock tune with using a drumstick on the frets, into a finger-picking, foot-stomping song, right on into a psychedelic demolition on stage with the help of Shaw and Floreth. Shaw and Floreth support Metzger equally and match his fierceness, creating a vibrant sound that filled the Brooklyn Bowl. It is wonderful when a trio can fill the space as it is not an easy task. There was even audience participation as Metzger asked the audience if they preferred him to play a “fast or slow song.” The audience preferred fast! The members of WOLF! can be found performing frequently on the New York City music scene and you should check them out any time you can.

“Metzger’s country fried telecaster, finger pickin good!” ~ C.Z.

Set I
Bubble
Uncle Jr.
Backwards Jack
Brother Soul
Cannonball
Nubian Lady
Povo

The first set really gave the audience an idea of how the night would play out. Aside from the first instrumental tune, “Bubble,” played solely by Soulive, every other tune had a guest performing alongside our favorite jazz trio. The Shady Horns, comprised of James Casey and Ryan Zoidis on saxophone and Eric Bloom on trumpet, were brought out on “Uncle Jr.” and continued through “Backwards Jack.” Both horn-heavy songs demonstrated the proficiency and technique of each horn player. Bloom’s mastery of the trumpet has changed dramatically since he began playing with Pretty Lights. His new found knowledge with the effect boards has been exposed throughout the entire Bowlive run. The moxie of James Casey dripped off the stage as he bounced between blowing his saxophone and raging the congas. Finally, Ryan Zoidis, the original founding member of The Shady Horns, continually brought the heat with extended technical solos proving that he is worthy of leadership.

“The Shady Horns added breadth to the solos and depth to the already monstrous sound. Nealzilla is relentless on the clav, while brother Alan drove the grooves and Kraz conjuring fantastic ideas in the eye of the storm.” ~ C.Z.

“They put the acid in acid jazz.” ~ W.S.

Guitarist Scott Metzger, who had just finished his opening set, jumped back on stage for a playful “Brother Soul,” with him and Krasno trading guitar licks. According to JamBase, in 2002, James Brown, the Godfather of Soul, told Metzger that his guitar playing is “Frightening! I swear you play so much guitar it scares me!” That pretty much sums him up. If you were to open up Metzger’s veins, blood wouldn’t pour out, musical notes would.

Bill Evans courtesy of Mark Dershowitz

Bill Evans courtesy of Mark Dershowitz

Special announced guest, saxophonist Bill Evans, joined the stage for the remainder of the set. Evans played the tenor saxophone on Soulive‘s original tune, “Cannonball” and he exemplified a snake charmer with his soprano saxophone on the Dr. Yusef Lateef cover, “Nubian Lady.” “Povo,” a tune off the latest collaborative album, Spark!, between Soulive and Karl Denson, ended the set. Spark! is a tribute to the late Melvin Sparks, an American soul and jazz guitarist who passed away in 2001.  Everyone who understands the history of a horn looked up to this musician and still does even postmortem. It was also on “POVO” that the first unannounced surprise guest, Grammy winning trumpet virtuoso Maurice “Mobetta” Brown, came out.  As the timbres of horns played around the stage, the audience reacted in kind, hooting and hollering enthusiastic praise.

“Bowlive.. Just what the doctor ordered. These guys never fail to bring it. Their continuous gelling with so many different artists shows that they are some of the highest level of talent out there. As a long time fan of Soulive, I can truly say that every show gets better & better. So thankful to them & the Brooklyn Bowl for bringing us all together.” – J.B.

Wyllys

During the set breaks, turntabalist Wyllys, whose real name is Wade Wilby, spun records of all styles to keep the energy up. The last thing anyone wanted on the last night of Bowlive, on this raging Saturday night, was to have the energy drop. Wyllys is a Bowlive Alum from Bowlive IV and has also hosted Bowlive After-Parties in past years.

Beginning as the Lighting Crew Chief for Umphrey’s McGee, Wyllys eventually made his name in the DJ and Jam Band community for his elevating demeanor while spinning. Every impression the audience gets from Wyllys is that he is doing something fabulous and fun. He always looks like he is having such a wonderful time, dancing and just power grooving to his own set along with the audience.  The choices he pulls out are based solely on the reflection of energy he feels from the crowd he is playing to. His in-the-moment choices can range from pop to funk to disco and just like last year, he was the last musician standing as he spun a set after Soulive completed their run. But it’s not over yet….on to Set II.

Set II
El Ron
Tuesday Night Squad
Maybe Grandma’s Hands
When I’m Kissing My Love
Inner City Blues

Finally, notwithstanding the encore, the last set of Bowlive V was upon us. Wyllys had kept the vibe up and the high expectations from the audience members were now directed towards the stage. Soulive had to bring the jazzy, funky ferocity that would leave a lasting impression in the minds of Bowlive addicts. The trio came out on a blazing “El Ron,” one of their most powerful opening songs and one that allows Eric Krasno to manifest monstrous solos. “Tuesday Night Squad” might be a horn-heavy tune but the rhythm of the piano is crushing. The range of Neal Evan‘s ability is endless. Musical ideas are literally at his fingertips and his excitement is contagious. That being said, it was Ryan Zoidis‘s alto saxophone solo that stole this song away from the rest of the band members on stage.

“Neal Evans might be one of the Great Americans, like up there with the guy who founded the Red Cross or Buzz Aldrin” ~ E.M.

“You could drop Krasno into any indigenous people’s music circle, anywhere in the undiscovered world, and he’d be able to play.” – E.M.

The beautiful Sonya Kitchell was back for a second night and was invited on stage for “Grandma’s Hand’s,” a widely influential Bill Withers tune he wrote about his own grandmother. Kitchell wore a slinky black dress, which was quite a change from her all-white, layered ensemble from the previous night. This change of vibe was enjoyable because the audience was being shown a different side of Kitchell. Her style of singing did not bring the funk last night and now, she was crushing the audience with her soul. During this tune, trombonist and vocalist Saunders Sermons assisted on the harmony, while falling in line with The Shady Horns. Special unannounced guest vocalist Mark Rivers (Tedeschi/Trucks Band) was front and center for Marvin Gaye‘s emotional tune “Inner City Blues.” This portion of the set really gave vocalists time to pull out all the stops. Scatting is improvised vocalization that does not contain lyrics and Rivers proceeded to dominate the audience with a lengthy, incredibly difficult and perfectly pitched scat session that lasted a good six minutes.

“Mark Rivers scatting solo was absolutely stunning. Right now, Esperanza Spaulding is the only young artist who I have felt can hold her own on every note when she attempts this style of vocal improvisation. Ella Fitzgerald made the style famous in my house when I heard my father playing her music. What Rivers accomplished on that stage was nothing short of a male reincarnation of Fitzgerald. Happy to add Mark Rivers to my list of phenomenal scatters. It is so difficult and he made it look effortless.” ~  K.D.

Special guest for the evening, Bill Evans, joined the stage for “When I’m Kissing My Love,” another Bill Withers‘ cover. The stage was now filled with an entirely different horn section. The Shady Horns were now replaced by Saunders Sermons on trombone, Bill Evans on saxophone and Maurice “Mobetta” Brown on trumpet. Mark Rivers was on percussion. All four now backed Soulive for the remainder of the set. Saunders Sermons brought his trombone to the microphone and delivered the second extemporized vocal scatting solo with some trombone blasts accented throughout. It is moments like these that continually define the meaning of what BOWLIVE tries to portray; the sharing of each others talents, putting other artists on the pedestal and in the spotlight. Sonya Kitchell could be seen in line with the horns breaking down the dance moves as she sang along. Let’s not forget the dynamic Evans Brothers duo holding down the rhythm section.

“On the final night, Zoidis kicked the horns in with a blistering alto run that brought the crowd to a frenzy. Later, Benny Bloom brought the chill factor with the hauntingly electronic trumpet solo. Solid tenor solos by James Casey complemented the more eccentric playing of Bill Evans. Maurice Brown silenced the crowd as his sublime trumpet evolved from the primordial to a force that brought Soulive, and the crowd, back in hard. Saunders Sermons added crisp, soulful vocals while the crowd got a bit closer to each other, sexy time at Bowlive.” ~ C.Z.

“Almost shit myself when that cat picked up the trombone!” ~ E.M. referring to Saunders Sermon

At the end of the set, Krasno announced that it was Saunders Sermons‘ birthday and then followed up by letting us know that at midnight, it would also be Alan Evans‘s birthday. A lovely moment was shared between the musicians on stage and the participants on the dance floor. We all sang “Happy Birthday” to Alan as the Brooklyn Bowl staff brought out a birthday cake with candles for him to blow out. What a way to celebrate! Alan had his best friends, fans who adore him and a venue full of people who praised him. But it still wasn’t over.

Encore – 1:30am
The London Souls
Down By The River
Feelin’ Alright
(Another Song)

Ryan Zoidis Fan Club TeeShirt Print Courtesy of Chris Zegers

Ryan Zoidis Fan Club TeeShirt Print Courtesy of Chris Zegers

The guests kept on coming when the members of The London Souls came out for the encore. A few nights earlier, Soulive and The London Souls combined on stage for a raging LondonSoulive set.  It was one of the most aggressive, rock-n-roll sets of the run. The audience wasn’t sure if this set had been scheduled all along or if this was a last minute decision based on the success of the LondonSoulive night, but here they were again to close out one of the greatest residencies New York City music lovers will see all year. The Shady Horns joined the guest horns, Alan Evans moved to guitar and vocals while Chris St. Hiliare took over the drum kit and Stu Mahan was back filling in the rhythm on his bass. Eric Krasno and Tash Neal matched each others energy, absolutely melting the faces of the audience with their alternating musical antics. When the Neil Young tune, “Down By The River,” was played, the crowd went wild. The audience, especially the men, were singing along, many at the top of their lungs. This song was an excellent choice for the rocking musicians on stage. Traffic‘s “Feelin’ Alright” kept the power pumping as the solos and individual performances of the musicians on stage just rolled out one by one. The audience continued to sing along on these vintage tunes before going into another “Happy Birthday” for Alan Evans, this time sung by his brothers Neal.  It was pure BOWLOVE, yall!

“The greatest musicians in the business are masters of their craft but are humble about it at the same time. I think that is what shines most throughout Bowlive. And never did it shine brighter than when Al Evans gave up his kit to Chris St. Hilarie and the London Souls were brought onstage to close out Bowlive 5. ~ K.G.

Conclusion

That’s a wrap folks! The fifth year of Bowlive is over. I won’t wax poetic about everything I have already covered in the previous wrap-ups but I will leave you with these final thoughts. Bowlive is the ultimate musical residency! It creates opportunities for Soulive to invite all manners of artists on stage for a time and takes them away from their normal environment and obligations. It provides a time of reflection and remembrance for the audience members and a time of presentation, research, and production for the band, musical guests, back line crew, writers and photographers. It also allows each individual artist to explore his or her talent within another musical community; meeting new people, performing and creating new material, and experiencing life in a new location. This residency emphasizes the importance of meaningful and multi-layered musical collaborations and in the end, we are all artists, playing a role in this thing called Bowlive.

“Every year I make too many friends, too many memories, and have way too much fun at Bowlive. Somehow Soulive continually manages to bring out the best people (musicians and fans alike) for two weeks of genre defying sets, all under the amazing intimate roof of the Brooklyn Bowl.” ~ N.G.

“Eric Krasno said the nicest thing last night and called us all family.” ~ A.S.

“The sheer power of Soulive that was on display at the Brooklyn Bowl was an honor to witness. Like a fine wine they get better with age, Soulive kept us dancing and smiling for eight nights!!! I can’t wait for Bowlive Six!” ~ L.H.

“Wow, two days in a row of live music and my soul feels like it’s been on a mini vacation. However, my body is aching from the Funk of Bowlive V.” ~ H.H.

Thank you Peter Shapiro for your brilliant ideas and to the ever appreciative Brooklyn Bowl staff for always taking care of this Tiny Rager and all my Soulive-loving friends, who so graciously provided the quotes for the articles. Thank you so much to Hilary Gleason and Tory Pittarelli of the The Mischief Collective for covering Night 6 for this weary writer who needed a much needed night of relaxation with her family. Thank you to all the folks who donated media like photographers Mark Dershowitz (Headyshots), Greg Horowitz (Creative Solutions Music Promotions), Marc Millman (Marc Millman Photography), Andrew Blackstein (ASB Photography), and Scott Harris (LanguageStrange Photography). Thank you to all who took videos and posted them on Youtube. A giant thanks to the music tapers, who make it possible for everyone else in the world to experience the soundtrack from the best musical run EVER! Finally, thank you to the talented members of Soulive for your never ending energy and love that you poured over us the past eight nights.  Thank you, thank you, thank you. Until next year….

To read the previous seven night Reviews, click on the links below:

——————————-

List of Special Guests and Openers

THURSDAY, MARCH 13 – Special Guests: NIGEL HALL, EDDIE ROBERTS, more TBA

FRIDAY, MARCH 14 – Special Guests: GEORGE PORTER JR. and SPECIAL GUESTS TBA
Opener: LEROY JUSTICE

SATURDAY, MARCH 15 – Special Guests: GEORGE PORTER JR. feat. a special #LONDONSOULIVE joint set
Opener: THE LONDON SOULS

TUESDAY, MARCH 18 – Special Guest: JOHN SCOFIELD
Opener and Special Guest: JON CLEARY

WEDNESAY, MARCH 19 – Special Guests: JOE RUSSO and SUSAN TEDESCHI
Opener & Special Guest: JON CLEARY

THURSDAY, MARCH 20 – Special Guest: DMC (of RUN DMC)
Opener: ALAN EVANS TRIO

FRIDAY, MARCH 21 – Special Guests: MARCO BENEVENTO, ROOSEVELT COLLIER, OTEIL and KOFI BURBRIDGE, FELIX PASTORIUS, and BRANDON NIEDERAUER
Opener: SONYA KITCHELL

SATURDAY, MARCH 22 – Special Guest: BILL EVANS,
Opener: WOLF! Featuring Scott Metzger

Read Full Post »

Bowlive V: Night VII – Soulive w/ Marco Benevento, Sonya Kitchell, Roosevelt Collier, Felix Pastorius, Oteil & Kofi Burbridge, and Brandon Niederauer @ The Brooklyn Bowl (03.21.14)

Posted in Residencies, Show Review, tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 22, 2014| 4 Comments »

Bowlive V: Night VII – Soulive w/ Marco Benevento, Sonya Kitchell, Roosevelt Collier, Felix Pastorius, Oteil & Kofi Burbridge, and Brandon Niederauer @ The Brooklyn Bowl (03.21.14)

Sonya Kitchell Set
Hurricane
Dust
Broken Heart
Follow Me In
Catapult
Mexico
Family
This Feeling
At First

The seventh night of Bowlive V at the Brooklyn Bowl started off on a more mellow vibe than the previous night openers. Bowlive V has produced rocking sets by The London Souls and Leroy Justice and the wonderful, jazzy Alan Evans Trio but now it was time for a chick flick of musical sorts.

Sonya Kitchell made her Bowlive debut with Jesske Hume on bass, Nate Wood on guitar and the amazing Neal Evans on drums and keyboards. Neal Evans on drums, you say? Yes, drums! When Neal is not playing with Lettuce or Soulive, he holds down the drums for Sonya Kitchell.

“I had a blast rocking the drums last night. Drums were actually my first instrument” ~ Neal Evans

Both Soulive and Sonya Kitchell were signed under Velour Music Group for a while but both have since graduated to new management. This explains their affiliation but there was a larger reason behind choosing Kitchell to open for the last night of Bowlive. Kitchell’s musical resume is filled with gems but she is most noted for touring with Herbie Hancock in 2008 after she helped him on his record River: The Joni Letters.

Neal Evans by Mark Dershowitz

Neal Evans with Sonya Kitchell by Mark Dershowitz

Sonya Kitchell Setlist

Sonya Kitchell Setlist

This set was was a defining characteristic of a Bowlive Residency. Was it what everyone wanted? I don’t think. Was it it as jamming as it could have been for a Friday night opener? Not really. However, Soulive enjoys changing up the game, introducing us to their favorite artists, mixing up the genres and giving exposure to the music world in whatever way they can. And please, do not get me wrong, Sonya Kitchell is a beautiful songstress and writer. I remember hearing Kitchell on Pandora about seven years ago singing “Let Me Go,” off her Words Came Back To Me album which was released on my 26th birthday. I bought it the next day. However, I am a lyric-loving female and the audience was filling up with dude after dude.

Kitchell’s band, was dressed all in white, definitely an artistic expression. White, almost as pure as her sweet, hopeful voice. Her set consisted completely of new tunes, some off the new, yet-to-be-released album, some even newer and some not recorded yet.  There was a nice treat when Marco Benevento came out and played piano for her tune, “Family,” a beautiful melodic tune. “This Feeling” was truly felt with Sonya Kitchell‘s effervescent vocals, Marco’s twinkling keys and Alan Evan’s consistent drumming.

Overall, Sonya Kitchell is a silent but deadly rager. A little grungy, a little edgy, a lot of sex appeal and her high registry and ethereal voice was captivating. She is soft, yet intense and today, she continues to impress the underground music community stretching those high notes and flipping between genres with every song.

Set I
Shaheed
Swamp
Brother Soul
Reverb
Aladdin
3rd Stone From The Sun –> Lenny
Manic Depression
Stratus

The intensely dedicated members of Soulive, drummer Alan Evans, keyboardist Neal Evans and guitarist Eric Krasno, stomped out an audience favorite, “Shaheed,” to open the first set. It was Friday night at the Brooklyn Bowl and if anyone knew what that meant, it was this trio. They brought the fire. The “Swamp” brought out the Shady Horns and there was just some gnarly, funky, connected vibing happening on stage. It got so deep that Alan Evans, for the second time this week, broke his snare drum.

“No snare drum can contain Alan Evans.” ~ G.F

“Brother Soul” showcased saxophonist Ryan Zoidis, who got a jumping ovation because everyone was already standing and as his solo peaked the crowd could be seen jumping in rhythm to his playing. This was a “GROOVER,” as John Scofield would say. Light Technician Victor Cornette supported the music wonderfully with his light work, uplifting the audience that much more. Next on deck was “Reverb” into “Aladdin.” Sonya Kitchell was on vocals in line with the Shady Horns while Neal musically defined the namesake of the song.

“Reverb is created when a sound is produced in an enclosed space causing a large number of echoes to build up and then slowly decay as the sound is absorbed by the walls and air” ~ Dictionary.com

Jimi Hendrix’s “3rd Stone from the Sun” and Stevie Ray Vaughn’s “Lenny” was next and The Shady Horns exited the stage. This is always an epic pairing of tunes but when you add in a child guitar prodigy, who only turned 11 last week, things get nuts. The amazing Brandon “TAZ” Niederauer made a big name for himself on Jam Cruise this year. Here it was now that this virtuoso guitar player I had heard so much about was going to show off his skills next to one of the best guitarists in the world.

“Everyone pulled out the Fire for night 7. Taz. Wow. Alan and Neal said it perfectly. Music starts in schools and our support needs to go there. Taz is a prime example of pure unadulterated raw talent. Was really humbling to hear him play and shed his soul on all of us. Can’t wait to say “I heard him play when he was 11″ to my kids one day.” ~ A.L. 

“My friend Dan said about Taz – “he’s not just playing he is feeling it. He’s just got it” ~ K.G.

“The crowd on the back half of the dance floor all turned to the screen to watch when Taz started playing!” – R. L.

When they broke into Hendrix’s “Manic Depression,” it was slow going but then Taz just took it away. Krasno gestured to the sound guy to turn Taz’s sound up. Measure after measure, Taz just built and built upon himself, delivering his solo so intensely, yet wearing such a stoic expression. Not even a little smile. Totally in his head. Everyone’s jaws were on the ground and there were moments when the audience was just screaming in shock and awe. Taz sounds and acts like a seasoned veteran of the stage and watching him grow up musically is going to be a wonderful experience so keep your eyes peeled.

“This is why we need instruments in school y’all.” ~ Alan Evans passionately spoke into the microphone.

1960's photo of John Scofield working with Jaco Pastorius

1960’s photo of John Scofield working with Jaco Pastorius

Alan Evans called out for “Felix” and shouts, “Where’s Marco?” The unannounced bassist Felix Pastorius was introduced by Alan and special guest Marco Benevento joined the stage. Just when you thought it couldn’t get any better Felix Pastorius shows up to play some cranking bass for us. Felix is a fantastic musician in his own right but it would be foolish not to mention that he is the son of the late virtuoso jazz fusion bass player from Weather Report, Jaco Pastorius. Many members of the audience could be heard talking about the excitement of seeing Jaco’s son play at Bowlive.  Felix did not disappoint adding a groovy jazzy bass sound to the Soulive mix.

The Shady Horns were back. The set-list listed Jaco’s soulful “The Chicken” next but they nixed that and went into Billy Cobham‘s “Stratus” instead.  Both songs are famous jazz fusion standards but only one made the cut for what turned out to be a psychedelic mash-up of musicians, literally the definition of fusion.

“This was my favorite song of the entire run” ~ T.P.S

Set II
Jesus Children of America/Stay
The Dump
The “In Crowd”
Revolution
Benny and the Jets
When My Guitar Gently Weeps
Soulful Strut
The Ocean
She’s S0 Heavy

Alan Evans handled the vocals for the Stevie Wonder cover, “Jesus Children of America,” while his feel-good drumming kept the beat.  “The Dump” is actually a Lettuce tune off their first album, Outta Here, which really brought the crowd up. However, it was when Marco Benevento came out for “The ‘In’ Crowd,” a song composed in 1964 largely for pianos and horns, when the stage might as well have caught on fire from the heat. Marco laid down a beautiful melody of keys while each member of the horn section soloed starting with James Casey, to Ryan Zoidis and then Eric Bloom. Bloom’s trumpet solo was reminiscent of Dizzy Gillespie and Casey brought it all home. At one point, Alan Evans pointed out that Marco was wearing a Soulive shirt and the crowd cheered.

“Marco has a special relationship with his piano and the audience. The bond is not to be taken lightly. His sensitive side is what makes him talk to the piano and relate to the audience.” ~ H.H

Miami’s acclaimed pedal steel guitarist, Roosevelt Collier from The Lee Boys, was the next guest for the evening.  He began by to sitting in on The Beatles’ “Revolution.” It was a special treat for Bowlive fans to see this uniquely talented musician play his equally unique instrument, the lap steel guitar.  The Bowl shrieked with the lovely sounds echoing from Rosie’s instrument. Collier was also in town for an Allman Brothers Band after-party gig at B.B. Kings Blues Club in Times Square the following night.  There was wonderful playfulness between Neal Evans and Collier. Marco was in his own world crushing so hard. It’s quite possible that Marco gets better with every note he plays. Roosevelt added a fantastic layer of sound with his lap steel-guitar as he and Krasno battled it out in a full on jam session for the ages. Pure hot-sauce.

Soulive added another piece of musical history to the Bowlive run when, with Roosevelt Collier and Marco Benevento’s help, they jammed out their first ever Elton John tune in Bowlive history: “Benny and The Jets!” What a crowd pleaser. Sonya Kitchell was back on vocals, in line with the Shady Horns and then Marco got up from his rig and dangled the microphone over the heads of those in the front row. “Just these guys!” said Marco and the audience joined in on the biggest sing-a-long of the run. The funny man continued to swing the microphone around heads before going back to his keyboards to have a duel with Collier.

The magic continued with “My Guitar Gently Weeps” and “Soulful Strut.” What more is there to say that I haven’t already said. Classic after classic, this group of musicians, all seasoned jamming artists, continued to slay the audience with solo after solo. Jam after jam. Collier and Krasno continued to duel it out on the strings while the Evans brothers held down the rhythm so tightly. Audience members had their hands extended towards the sky as if they were worshiping to their gods. Their Gods of Rock!

For the next tune, it was fun to see Marco opened it up with the famous John Bonham count-in, “We’ve done four already but now we’re steady and then they went: One, Two, Three, Four.” BOOM!!!! The audience was immediately washed away by a rousing rendition of Led Zeppelin’s “The Ocean.” It’s particularly nice to hear this tune performed during Bowlive with Marco because Led Zeppelin doesn’t have a keyboardist in their band, making this arrangement unique.

Encore I
I Want You (She’s So Heavy)

The set was supposed to end there but it was Friday night and Soulive was on fire. So, they pulled out Encore #1 with Beatles’ tune, “I Want You (She’s So Heavy).” Ironically, on this day in 1984, part of Central Park in New York was renamed Strawberry Fields in honor of John Lennon.

Encore II
So Live!
Cash’s Dream
Nubian Lady

The stage empties for about 60 seconds. At that point, Alan Evans is back on the microphone stating, “We were going to end the set but we have some more surprises y’all, all the way from the Beacon Theatre, Oteil and Kofi Burbridge.” Eric Krasno leans into the microphone with a huge grin and says, “Burbridge Brothers in the building!” Oteil Burbridge has been the bassist for The Allman Brother’s Band since 1997 and his brother, Kofi, has been playing flute and keys for many bands on the jam scene for years as well.  Hearing Kofi’s flute in the mix of “So Live!,” “Cash’s Dream,” and “Nubian Lady” was stunning. He fluttered through the songs, bouncing back and forth between the piano and his flute, both instruments he dominates.

Photo Courtesy of Mark Dershowitz

Photo Courtesy of Mark Dershowitz

During “Cash’s Dream,” the Shady Horns joined the stage while Oteil Burbridge really let it rip on his bass. Oteil guided the song to a really spacey place. Victor Cornette used the lights to enhance the mood and there it was, the pinnacle of the evening with Ryan Zoidis adding effects to his horn, bringing it that much higher. In the end, it was just one epic extended solo, each musicians playing off each other and feeling the family vibe super hard. People were jumping on their feet with both hands in the air. Just a full on Jam Session between friends and as we danced with our own friends in the audience, it was a great way to end a Friday night.  Thank you Soulive, Roosevelt, Marco, Oteil, Kofi, Sonya and all the amazing musicians that made last night another night for the books.

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Tonight, the last night of Bowlive V, you will get an array of surprise musicians playing a laundry list of amazing songs. That is just how it goes down on the finale night of a Bowlive run. 

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List of Special Guests and Openers

THURSDAY, MARCH 13 – Special Guests: NIGEL HALL, EDDIE ROBERTS, more TBA

FRIDAY, MARCH 14 – Special Guests: GEORGE PORTER JR. and SPECIAL GUESTS TBA
Opener: LEROY JUSTICE

SATURDAY, MARCH 15 – Special Guests: GEORGE PORTER JR. feat. a special #LONDONSOULIVE joint set
Opener: THE LONDON SOULS

TUESDAY, MARCH 18 – Special Guest: JOHN SCOFIELD
Opener and Special Guest: JON CLEARY

WEDNESAY, MARCH 19 – Special Guests: JOE RUSSO and SUSAN TEDESCHI
Opener & Special Guest: JON CLEARY

THURSDAY, MARCH 20 – Special Guest: DMC (of RUN DMC)
Opener: ALAN EVANS TRIO

FRIDAY, MARCH 21 – Special Guests: MARCO BENEVENTO, ROOSEVELT COLLIER, OTEIL and KOFI BURBRIDGE, FELIX PASTORIUS, and BRANDON NIEDERAUER
Opener: SONYA KITCHELL

SATURDAY, MARCH 22 – Special Guest: BILL EVANS,
Opener: WOLF! Featuring Scott Metzger

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Bowlive V: Night IV – Soulive feat. Jon Cleary and John Scofield @ The Brooklyn Bowl (03.18.14)

Posted in Residencies, Show Review, tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 19, 2014| 4 Comments »

Soulive: Photograph Courtesy of Calabro Music

Soulive: Photograph Courtesy of Calabro Music

Bowlive V: Night IV – Soulive feat. Jon Cleary and John Scofield @ The Brooklyn Bowl (03.18.14)

As the members of Soulive settled in over the years, their Brooklyn Bowl based annual residency, Bowlive, has became as institutional as the music itself. During the first week, the audience was privileged enough to enjoy the musical styling of vocalists Nigel Hall and Nicki Bluhm, turntablist DJ Logic, rocking guitarists Warren Haynes and Eddie Roberts, legendary bassist George Porter, Jr., and house band, The Shady Horns. Full band performances and collaborations by Leroy Justice and The London Souls added to the marvel. Every song sailed down the middle of the stage, rolled by the trio with the consistency of a pro bowler. This consistency, of course, has been the key to Soulive’s longevity.

“When Soulive hit the stage, I was surprised at how they constantly matched the energy from the previous nights. I’m always reminded of the 80’s power trio bands that filled a room with just three musicians and am amazed how these guys do it. A modern day jazz/funk power trio like no other.” ~ R.G.

Commencing with their second week of Bowlive V, Neal Evans, Alan Evans and Eric Krasno have put together another long list of talented musicians to keep us satiated for the remaining five nights. Over the next few evenings our musical senses will be overloaded with the likes of Joe Russo, Susan Tedeschi, Jon Cleary, Bill Evans, Alan Evans Trio, DMC (of Run DMC), Marco Benevento, Sonya Kitchell, and WOLF! Featuring Scott Metzger. You can also count on some surprise guests.

For night IV, Soulive made all the right moves, showering the audience in musical genius, making sure no one would regret coming out on a Tuesday night. With Jon Cleary and John Scofield as the special guests last night, it was the perfect kick-off for the second week. And what a kick-off it was. It was truly stimulating. Soulive and their guests performed one long extended set with Jon Cleary opening to a packed house at 8:30pm.

“Notes from the front line, my first encounter with Bowlive! Thank you Soulive and Brooklyn Bowl for making our first Brooklyn Bowl/Bowlive experience a very memorable one. From the moment we arrived, we were welcomed by the staff and had a great pre-show dinner, followed by the acquisition of the highly coveted John Warner Bowlive poster, which are limited to 15 posters per evening. After seeing some fellow Pittsburghers and Jam Cruisers, we secured our spots on the platform area with a killer view of the stage.” ~ M.M & L.M.

Jon Cleary Set
Unknown
I Feel So Damn Good I’ll Be Glad When I Get the Blues
Cheating On You
When You Get Back, We Gonna Cha Cha All Night Long
The Crave (an emotionally complex piece.)
I Get The Blues When It Rains
Unknown (Boogie Woogie Tune)

Phone Capture Courtesy By Rob Mishaan

Phone Capture Courtesy By Rob Mishaan

The venue was packed with devoted music fans. This wasn’t your average audience who was there to drink and chat it up with their friends. Almost every eye was fixated on the stage as Jon Cleary opened the night with a solo piano set showcasing his vested studies in the music of New Orleans. Having moved from Kent, England to study the music of New Orleans, Jon Cleary is arguably the best out there right now. A disciple of Professor Long Hair and James Booker, Cleary’s voice is salty-sweet and he is a master of the piano, organ and guitar. You may know him best as a member of Bonnie Raitt and Taj Mahal‘s bands and his own group, Jon Cleary & the Absolute Monster Gentlemen. With his blend of jazz, blues, soul, gospel, and honky-tonk, Cleary epitomizes New Orleans music. His set was evidence of his extreme caliber of musical knowledge.

“Jon Cleary started the night of music off right, as I was immediately intrigued by his silky smooth voice and Deniro-esque looks. His “Big Easy” style was quite a cover for his British heritage. This new musical discovery for me had me Googling his discography this morning to see what else I could find out about this man!” ~ M.M. & L.M.

“Having just booked our trip to Nola for jazziest the night before I could not have asked for a better punctuation. Watching Jon Cleary play keys in such classic New Orleans style blew us away. I could only wonder if Neal Evans was peeking down the stairs to watch this guy.” ~ R.G.

Set I
Shaheed
Come Together
One in 7
For Granted
Cannonball
What You See Is What You Get
Nealization
Something’s Got A Hold on Me
Motherless Child
Walk With Me
Don’t Need No Doctor
Turn It Out
Hottentot

Encore: Get Back

Last night, there wasn’t three sets or even two sets, there was one long extended set which ended promptly at midnight. Soulive, The Shady Horns, Jon Cleary and John Scofield would command the stage with various genres of blues and jazz, filling every second of the evening with prodigious music. The set started out with the members of Soulive performing “Shaheed,” The Beatles‘ tune, “Come Together,” and “One in 7.” During “Come Together,” the audience sang along with heads bobbing and the stage lights flashing, while “One in 7” was played with a delightful intro. It was also during this time that there was some malfunction with Neal’s keyboards. Times like these can break a musical moment but Alan Evans picked up the slack by drumming his heart out while the chords on his brother’s rig were being fixed. When the audience heard the rejuvenation of the bass keys, it was on!

“Upon completion of Jon Cleary‘s set, Soulive took the stage, embracing me with their soul soothing sounds and reminding me that Neal Evans is a true bad-ass! Watching him lay down those bass lines with his left hand as his right hand plays the Hammond chords was literal music to my ears! The Beatles‘ cover “Come Together” got the crowd singing along, but you could see the anxious anticipation for the arrival of John Scofield, who was the special guest of the evening. Having the pleasure of watching such musical prowess and interplay in such close proximity was truly a treat.” ~ M.M.

“For Granted” and “Cannonball” were both played with the help of The Shady Horns. Ryan Zoidis (baritone/alto saxophone), Eric “Benny” Bloom (trumpet) and James Casey (alto saxophone/percussion) always bring a special vibe to the stage when they join Soulive. As much as they is a respected jazz trio, their vested interest in funk runs deep. The audience is blessed to have a horn ensemble in the mix of some of their favorite jazz tunes. “For Granted” was a wonderful showcase for the widely talented Ryan Zoidis, while James Casey absolutely stole the show with his performance on “Cannonball.” Eric Bloom took his liberties with his pedals and effects during his solo, as well.  These two songs were meant to showcase The Shady Horns and boy, did they deliver.

“The Shady Horns were dead on, once again. Eric Bloom‘s effects-enhanced solos and James Casey killed it, as always, while Ryan continues to be the mainstay. Gonna get some more rest today so I can get back there tonight with Tedeschi!!!” ~ R.G.

The eyes say so much, and they speak even louder when a musician closes his eyes and is fully immersed in song. This happened to Krasno throughout the remainder of the set. When Scofield came on the stage, Krasno was in a blissed-out state of being, eyes closed, in total focus. “What You See Is What You Get,” a major hit for the Dramatics in 1971, is Scofield’s interpretation of Detroit soul music.  The beautiful thing about John Scofield is that even though he covers many old tunes, the arrangements are all his own. “Nealization,” obviously composed by Neal Evans, was a fantastic representation of his talent. Scofield played lead guitar while Krasno played rhythm. The entire crew on stage was grinning from ear to ear while the ax-men played off each other, trading delicious licks on their guitars.

“I have been a fan of John Scofield since the first time I saw him at The Bottom Line in NYC in 1980. I always mark this night as a must go. Even having stayed home from work sick, I got the energy up to get there. I was not disappointed!!! It is so obvious that Kraz uses Sco as a mentor and has used him as one of his many inspirations. As it is equally obvious how Sco is impressed with Kraz. There dueling solos blew the entire audience away. Sco has a way of making his guitar sing.” ~ R.G.

“Can someone explain to me how Neal Evans solos on keys with Soulive while also dropping funky bass? Meanwhile, I can’t even rub my tummy and tap my head at the same time…” ~ K.S.

“Neal Evans is the most underrated bass player in music. His right hand gets so funky, we forget his left is leading us to the promise land.” ~ J.S.

The next two songs were songs off John Scofield‘s latest album release, Piety Street. The Rev. James Cleveland cover, “Something’s Got A Hold On Me,” was first but it was “Motherless Child,” a traditional negro spiritual born out of slavery and sung by Cleary with sharp new harmonies, that grabbed the audience’s attention. 

“When I heard “Motherless Child,” I almost didn’t recognize it. I recognized that I was hearing the words of a song I knew but the arrangement was so different from the versions I’d previously heard.  I am aging myself by saying this but I remember the first time I ever heard that song. I was just 15 years old. It is the hidden song within Track 11 off the Cracked Rear View album by Hootie and The Blowfish. Y’all remember that? Darius Rucker sings the song in it’s traditional A-Capella style. It was as beautiful to back then as it was now, hearing it in this new style and arrangement. I adore when modern musicians take classic songs and make them their own.” ~ K.D.

“One of my favorite moments of the evening, was when the stage was packed with everyone on the bill, Soulive, The Shady Horns, Scofield and Clearly as they played a tune that featured three part harmonies of Alan Evans, Jon Cleary and Eric “Benny” Bloom. I look forward to finding that show on Archive.org to relive that moment and sing along with them!” ~ M.M.

Photo Courtesy of Mark Dershowitz

Photo Courtesy of Mark Dershowitz

Then, the jazz/organ trio pulled a new maneuver out of their Bowlive bag of tricks. Jon Cleary and John Scofield remained on stage, while Soulive and The Shady Horns exited. This would be the first time in Bowlive history where the band allowed the stage to be commanded solely by the guests. It was not a coincidence that Jon Cleary and John Scofield were the two guests playing on the bill last night. Cleary is not only renowned for his ability to play the ivories, but he also composes music and went on to write and join John Scofield on the the road singing and playing with Scofield’s Piety Street Band. Needless to say, the combination of the two artists performing their song, “Walk With Me,” was electrifying and unique. Cleary sat back and watched as Scofield took a few measures for himself before joining in the song.

Through great applause, John Scofield leaned into the microphone. Referring to Cleary, he says, “This guy can play a mean piano but did you know he is an amazing guitarist, as well?” With that, Cleary jumped from the keys and moved to guitar while Krasno picked up the bass for “Don’t Need No Doctor.” Scofield continued, “John Mayer used to sing this song, but you should hear Cleary sing this song.” The audience laughed. The horns had left the stage but James Casey remained playing percussion. Casey is an amazing horn player but his talent by way of understanding sounds in percussion has grown exponentially since we saw him last year at Bowlive IV.  During the song, Scofield could be seen bouncing around, pointing to the next member on stage he wanted to pull a solo.

“I want to say that my highlight was “What You See Is What You Get,” “Nealization” or “Hottentot,” but honestly I had two highlights. (1) Cleary killing it on guitar with Kraz killing it on Bass, and (2) Scofield directing traffic. Maybe it’s an elder statesman thing, but the respect that guy engenders on stage is impressive. He was absolutely in charge and was clearly enjoying going tit for tat with everyone. I especially loved when [John Scofield] made a point to give Alan some play time, because, give the drummer some! Am I right? All in all, just a beast of a show. I fucking love Bowlive.”  ~ B.M.

Jon Cleary‘s turn was up and he retired backstage. The Shady Horns were also held back as Soulive and John Scofield played, “Turn It Out.” This was the time for all the jazz heads to revel in the genre. As much as Soulive likes to give us the funk, jazz is their priority and their growing reputation on this musical path is what has brought them this far. Scofield’s reputation in the Jazz community runs deeper and Krasno’s idolization of Scofield’s style is evident in how Krasno, himself, plays. So you can imagine how equally graceful and intense this part of the set was.

“Seeing two guitar gods trade licks was invigorating, and truly impressive at the same time, as you could see the admiration that Krasno has for Scofield as they both played their hearts out! It was ON, for sure!! “Turn It Out” brought back some great musical memories for me, as I harkened back to a January 2003 Soulive show that took place in an Italian restaurant in the tiny mountain town of Makawao, HI on the island of Maui. It reinforced the fact that we made a great decision to make the trek for our first Bowlive and it’s got me jazzed looking forward to what I’ll get to experience tonight! Thank you Eric, Alan and Neal!! You and your friends bring me musical delight!” ~ M.M.

“We love you madly,” said Scofield, “This one is a groover, called ‘Hottentot,’ so let’s keep dancing.” And dance we did. The venue never emptied out like in previous nights and this was a true testament to the musicianship on stage. Like I mentioned previously, this wasn’t your average audience of bar goers. There were super fans in the audience for each of the artists on stage and they were there in full support all night. Alan Evans was featured on a rousing drum solo during “Hottentot.”  He is honestly one of the best jazz drummers around and the audience was overheard speaking on how they were looking forward to the Alan Evans Trio opening for Bowlive on night six.

Everyone was brought back on stage for the single-song encore, “Get Back.” A Beatles‘ tune, it was expertly played by the musicians on stage, having all worshiped the Beatles at some point in their musical careers.  The audience was invested as well and sang along with bodies bouncing. It was a perfect ending to a wonderful collaboration of musicians.

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Tonight, Jon Cleary will return with special guests jazz saxophonist Bill Evans, acclaimed Brooklyn drummer Joe Russo and southern vocalist and guitarist Susan Tedeschi. 

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List of Special Guests and Openers:

THURSDAY MARCH 13 – Special Guest: NIGEL HALL, EDDIE ROBERTS, more TBA

FRIDAY MARCH 14 – Special Guests: GEORGE PORTER JR. & SPECIAL GUESTS TBA
Opener: LEROY JUSTICE

SATURDAY MARCH 15 – Special Guest: GEORGE PORTER JR. feat. a special LONDON SOULIVE joint set
Opener: THE LONDON SOULS

TUESDAY MARCH 18 – Special Guest: JOHN SCOFIELD
Opener & Special Guest: JON CLEARY

WEDNESAY MARCH 19 – Special Guests: JOE RUSSO & SUSAN TEDESCHI
Opener & Special Guest: JON CLEARY

THURSDAY MARCH 20 – Special Guest: DMC (of RUN DMC) and TALIB KWELI
Opener: ALAN EVANS TRIO

FRIDAY MARCH 21 – Special Guest: Marco Benevento, Sonya Kitchell, Roosevelt Collier, Felix Pastorius, Oteil & Kofi Burbridge, and Brandon Niederauer
Opener: SONYA KITCHELL

SATURDAY MARCH 22 – Special Guest: Bill Evans and more TBA
Opener: WOLF! Featuring Scott Metzger

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Bowlive IV Recap including Kid’s Bowl Day Show & Night Show 8 Reviews

Posted in Show Review, tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 19, 2013| Leave a Comment »

Bowlive IV Recap Including Day & Night 8 Reviews

We’ve officially been “Bowlived” for the fourth year as Soulive reached the finish line of their 4th Annual residency, Bowlive, on Saturday night. It’s a bittersweet feeling; similar to the feelings you get when you have to leave an amazing few weeks at summer camp. For the members of Soulive, seeing the regular faces and New York City fan dedication is a wonderful energy for them to play off of throughout the run. In turn, fans get to see their favorite artists night after night, performing exquisitely executed originals and crushing covers with spectacular guests. All the while, both fans and band dance around with each other, their friends, and other musicians in the audience who are there just to bare witness. Everyone smiles and engages each other, soaking up every glorious note. It’s a symbiotic relationship that is hard to fall away from after being dipped so deeply for eight nights. So, when the end comes, we must remind ourselves that these residencies are special because they only happen once a year! Soulive reminds themselves that they have something special to look forward to as much as the audience does. And each year, the audience witnesses the unfolding of a beautiful musical dynasty that Eric Krasno and brothers Neal and Alan Evans have created.

 Unlike the three previous year’s run, Soulive chose to focus their energy into eight shows instead of ten. This choice applies great pressure to any band who chooses to change the formula of a well-established and respected event. Bowlive fans expect a certain caliber of guests, a high level of surprise sit-ins, and some spectacular musical experiences that sometimes end up being a once-in-a-lifetime moment.  Soulive knows this to be true and always takes the time to consider such factors. How about having Mod dancers bust out into the bowling lanes during the second set of Night I?! It was just go time at that point!

Over the course of eight nights, guitarist Eric Krasno, bass keyboardist Neal Evans and drummer Alan Evans provided a stage and support for fantastic and exciting artists. They played endless jams in multiple styles across the musical spectrum, which is an important goal of the residency every year. Special guests included rocking Southern Blues brothers, guitarist Luther Dickinson and his brother, drummer Cody Dickinson, the 1970’s soul vocalist, Lee Fields and his modern day counterpart, Nigel Hall. There was the unmatched pedal steel slide guitarist Robert Randolph, legendary jam scene DJ, DJ Logic, and The Shady Horns lent their wall of sound during the second week with the help of crushing saxophonist Bill Evans one night. Some of America’s most outstanding keyboardists, 1970’s Memphis blues keyboardist, Booker T. Jones, mad scientist and keyboard wizard, John Medeski, and the ever experimental Marco Benevento, dominated their time on stage. Stepping in to melt faces on guitar was the astonishing Los Lobos’s David Hildago and The Meter’s Leo Nocentell. Soulive closed out their epic week playing with America’s most famous funk bassist, George Porter. Jr.

Another exciting element of Bowlive each year is the choice opening bands Soulive picks to set the audience’s mood each night. Due to a benefit at the Brooklyn Bowl on Night Six, there were only seven opening groups, all delivering a variety of musical power. The ridiculous ragers who make up Kung-Fu opened the run with so much fury. It was a perfect choice. The rocking Sister Sparrow and the Dirty Birds, The London Souls and Leroy Justice got the dance floor grooving. It was also a great pleasure to see two powerful females amongst the male-dominated residency by way of Alecia Chakour (The Alecia Chakour Band) and Arleigh Kincheloe (Sister Sparrow). The soul and flavor of love got shot to our hearts with The Nigel Hall Band, the Alecia Chakour Band and Cocheme Gastulum’s The Electric Sound of Johnny Arrow. You’re encouraged to read about them all in the previous night’s posts.

Then, you have the unannounced guests who are a separate list of continual, crushing talent. The Allman Brother’s southern rock guitarist Warren Haynes and slide guitarist Derek Trucks surprised the audience with a secret full third set on Night Two. Trombonists Sanders Sermon (Tedeschi/Trucks Band) and Natalie Cressman (Trey Anastatio Band) and trumpeters Maurice Brown and Igmar Thomas, and saxophonist Cocheme Gastulum (Sharon Jones and the Dap Kings), enhanced the wall of horns over the run on various nights. Behind everything, the chemistry and talents of Eric Krasno, Neal Evans and Alan Evans, are what make Bowlive possible.

Perhaps the most special show for many Soulive fans is the Kids show. Soulive held another KidsBowl performance early Saturday afternoon from 2pm to 3pm. These specific types of shows bring Soulive’s music to both the fans children and the unknowing adults who bring their kids to bowl on a Saturday, not knowing what a treat they are in for.  For dedicated Bowlive fans, the kids show is a wonderful way for the individual dancing alone at night to bring his or her family to meet one another.  The reality of life becomes evident as the adults were in “parent” mode, not “party” mode. Babies were crawling on the dance floor and children of all ages were running around in bowling shoes. The lights were on and bumpers were out. In their hour, they performed a few Soulive originals and brought Meter’s bassist, George Porter, Jr. It was when the set was over that the real raging began, however, when the children were allowed on stage to play with instruments and dance.

KidsBowl Set:

Uncle Jr.

Vapor

Hat  Trick

Turn It Out

Hey Pockey Way (w/ George Porter, Jr.)

How Sweet It Is (To Be Loved By You)

 It was back to party time with the evening show and The Alecia Chakour Band opening. Her blues siren vocals backed by Neal Evans on keys, bassist Alex Chakour, drummer Caito Sanchez, saxophonist Cocheme Gastulum, and trombonist Dave “Smoota” Smith, were perfection.  After a lovely instrumental intro, Chakour sang seven band originals, including “Runaway,” “Over Again,” “You Didn’t Tell Me,” and “The Sun.” Each member of her band taking solos and leads amongst her sweet sounding vocals. This was a fantastic group of soulful musicians and a perfect choice to transition into the funk-filled evening.

Opening Set:

1. Instrumental

2. Runaway

3. Over Again

4. You Didn’t Tell Me

5. The Sun

6.Ghost

7. Shirley

8. Everything Time I See You (Stevie Wonder Cover)

The important point of all of this, simply, was the music. Music that creates a passion within Soulive and luckily, that passion is extended to the fans. For the final evening of their amazing residency Soulive would play host to their mentor in funk, Meter’s bassist, George Porter Jr. But not before bringing it home for the Soulive purists, proving once again what a sick power trio they truly are.  The first set was pure fire, and with help from the Shady Horns, there was nothing to divert our thoughts from what was most important.  The set was full of sick Soulive originals, “Uncle Jr.,” “Aladdin,” and “One in Seven.” “Lenny,” a Stevie Ray Vaughn cover and highlight of any set, allows Krasno to open up a can of whoop ass upon your ears. He broke his string during his ripping solo. Enough said. The London Souls’ Tash O’Neal (guitar and vocals) and Chris St. Hilaire (drums) joined for the a “cover” of their own “Steady Are You Ready” then stayed on to help deliver a crushing version of Howlin’ Wolf’s “Killin’ Floor” in the vein of Electric Flag’s version. Remember, as we learned on Night Four, Krasno is a huge Tash O’Neal fan, so you can imagine the chemistry.

Set I:

Uncle Jr. (w/ Shady Horns)

Aladdin (w/ Shady Horns)

Come Together (Beatles cover)

Lenny (Stevie Ray Vaughn cover)

One In Seven

Steady Are you Ready (London Souls cover w/ Tash O’Neal & Chris St. Hilaire)

Killin Floor (Howlin’ Wolf Cover…Electric Flag Version w/ w/ Tash O’Neal & Chris St. Hilaire)

 Soulive performed a beautiful rendition of “El Ron,” before George Porter, Jr. was introduced for Set II, continuing on as one of Bowlive’s greatest musical mainstays.  During this tune, the Shady Horns, with the help of guest saxophonist Cocheme Gastulum, broke off into an extended improvisational blowing session with Alan supporting on drums. For lack of better words, it could best be described as a drum line for horns. A Hornline, if you will?! The entire second set evolved into of slew of classics from The Meter’s catalog.

“People Say,” kicked off a funk-fueled set with James Casey delivering a rousing solo. Casey has carried a saxophone around his next all week and when he plays, it’s clear that he was meant to blow a horn.  However, it must be mentioned that over the run, Casey provided grooving percussion on the congas for many songs. It was a dance party for “Hey Pockey Way,” as Porter announced that, “Everyday should be Mardi Gras!!!”  Then, audience participation time for the fun tune, “Hand Clapping Song.”  The next Meter’s original, “Out in the Country,” was performed in the style of Porter’s slow emotional arrangement from his It’s Life album. This was a gorgeously played ballad that tugged at the heartstrings of the crowd in a deep way. From a personal perspective, it brought tears to my eyes, almost opening the floodgates until I reeled it back in.  I wasn’t alone in this outpour of emotions. Again, acknowledging that this super-stimulating, night time version of summer camp, full of friendly faces, is like ending an addiction cold-turkey. Bowlive is an institution in the Jam Band universe at this point, it lasts longer than many music festivals, and it’s not easy for the die-hards when it ends.

The set ended and no one moved.  There was just endless screaming and shouting of Krasno and the Evans brother’s names. Then, Brooklyn Bowl owner, Peter Shapiro, stepped onto the stage. On the last night of every Bowlive, right before the final encore of the run, Peter Sharpio does something special for Bowlive’s loyal audience in an effort to show his gratitude for their support of live music.  At the end of the first Bowlive, 700 shots of tequila were handed out from the stage.  He kept it entirely mellow last year by passing around Aromatherapy plants: Sage, Rosemary and Thyme, asking that the audience to grab sprigs of each plant and inhale. This was to encourage a revitalization within our body, mind and soul for the energy to dance on for one more song. Not missing a creative beat, Peter Shapiro took the mic on this final night and thanked us for our loyalty in proper rockstar fashion. He alerted the audience that this was a milestone 40th show for Bowlive and that the he had had made t-shirts with “40” on the back and “BOWLIVE” on the front. XL shirts went flying around the venue and Shapiro asked that the audience put them on right away before Soulive would deliver us our double encore of “He Bite Me (The Dragon)” and “Ain’t No Use.” The gifting of the shirts was a smart and fun way to end this year’s Bowlive.

Set II:

El Ron (w/ Shady Horns and Cocheme Gastulum)

People Say

Take A Chance

Hey Pockey Way

Jezebel

Hand Clapping Song

Out In the Country

Encore:

He Bite Me (The Dragon)

Ain’t No Use

Soulive has truly cemented their reign as a musical dynasty. A talented trio on top of their game in this unforgiving musical bastion of NYC. The magnitude of music overheard during the last two weeks was dynamic and inspiring.  The guests and the musicians solos were magnificent, diverse and captivating. Soulive always gives us something to look forward to every single night of Bowlive and this year was nothing less.

On personal note, I hope these reviews have helped supplement the wealth of musical knowledge that Soulive bequeathed upon us during Bowlive IV.  It is a delight and a  privilege to witness Bowlive every year and count Soulive and the Brooklyn Bowl as part of my local music scene. It also goes without saying that it is an honor and a true highlight of my career to be blessed to write for this amazing phenomenon called Bowlive. Thank you to Peter Shapiro, the Brooklyn Bowl, all the staff and production crew. Thank you to Royal Family Records for the opportunity to cover such a delightful event. A giant thank you to all the guests who lent their sound to the stage. Finally, the biggest congratulations and thank you to Alan Evans, Neal Evans and Eric Krasno for making it all possible. Your fans eagerly await to see what you have in store for Bowlive V!

Karen Dugan

tinyrager.com

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Bowlive IV: Night 7 Recap w/ George Porter Jr., Leo Nocentelli & The Shady Horns : Next Up Kids Bowl / GPjr. + The Shady Horns

Posted in Show Review, tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 16, 2013| Leave a Comment »

Bowlive IV Night 7 Recap w/ George Porter Jr., Leo Nocentelli & The Shady Horns : Next Up Kids Bowl / George Porter Jr. + The Shady Horns

Friday nights are always fun at the Brooklyn Bowl.  There is a relaxed weekend vibe. Everyone is ready to dance, eat Blue Ribbon fried chicken and enjoy a rich Brooklyn brewed lager. We had hit night seven of eight of Soulive’s Brooklyn Bowl residency and Soulive was prepped for the beginning of the end. I wish I could say the same for the audience. Understanding that the band must be weary, there are those fans who just simply can’t ever get enough of virtuoso guitarist Eric Krasno, soul drummer Alan Evans and one of the unique keyboardists of our generation, Neal Evans. As these three musical wizards warmed up over the week, the energy has radiated to an outstanding level. The boundaries of their musical talents have been pushed to the limits by the guests that have graced the stage with them.

Leroy Justice set the pace tonight with their garage rock sound. Leroy Justice is a legitimate rock n roll band consisting of the charismatic Jason Gallagher (guitar/vocals), Sloan Marshall (keys), Bradley Wegner (bass), Josh Karis (drummer), Justin Mazer (guitarist). Their eclectic, southern, hard-rocking sound and on stage presence taps into The Doors, Lynyrd Skynyrd, The Allman Brothers and The Black Crowes. The keyboard was covered in an American flag and Pennsylvania license plates decorated the amps. The slamming rhythm section drove the songs that varied in styles from hard rock to southern blues with harmonica and got the crowd in dancing mode.

Over the seven nights of Bowlive IV’s run, Soulive has delivered the audience a Stax appreciation night with Memphis blues keyboardist Booker T. Jones, a southern rock throw down with guitarist Luther Dickinsion and drummer Cody Dickinson and a psychedelic jazz night with experimental jazz keyboardist John Medeski and saxophonist Bill Evans. Last night, Soulive brought it back to their roots; back to their initial passion of soul and funk, with special guests bassist George Porter, Jr. and guitarist Leo Nocentelli, of the legendary 1970’s funk band, The Meters. Soulive opened their set, just the three of them, with an amazing rendition of “Steppin” and “Eleanor Rigby.” The trio was on fire, each taking a little time to shine through the tune. Wasting no time at all, Alan Evans introduced “a first in Bowlive History, y’all!” Guitarist Leo Nocentelli, one of the original forming members of the greatest New Orleans funk band ever, was up on deck for the rest of the set. With the help of The Sandy Horns, Nocentelli , “Rudy’s Way” and “Hat Trick.” It was nice to see Nocentelli and Krasno trading funky licks amongst the traditionally jazzy tunes. Neal’s hands were pounding away at the bass keys and his legs were constantly in motion, dancing behind his kit. Everyone was pumped up as bassist George Porter, Jr. was invited out for “Come Back Jack” and “Cissy Strut,” the songs that made the Meter’s a household name, was supported by Porter’s funky bass riffs.  Porter exited and Nocentelli continued on vocals for Stevie Wonder’s “Jesus Children on America” into “Want Me To Stay.” To say that the band was excited was a gross understatement. The energy flowing between the musicians and through the audience was like a supernova, with screaming fans and our Royal Family musicians ecstatic to be on stage with their own musical heroes.

Set I:
Steppin
Eleanor Rigby (Beatles cover)
Rudy’s Way (w/ Leo Nocentelli)
Hat Trick (w/ Leo Nocentelli)
Come Back Jack (The Meters cover w/ Leo Nocentelli and GPJ)
Cissy Strut (The Meters cover w/ Leo Nocentelli and GPJ)
Jesus Children of America > (Stevie Wonder cover w/ Leo Nocentelli)
If You Want Me to Stay (Sly and the Family Stone cover w/ Leo Nocentelli)

A slow, sexy, melodic version of The Meter’s “Pungee” began with Krasno and the Evans brothers for the second set and George Porter snuck out in the middle of it. It would be Porter’s time to shine after Leo Nocentelli dominated the first set. “No More Okey Doke,” showcased the baritone sax talents of Ryan Zoidis, who traded licks against Porter’s bass lines. Krasno then took what could arguably be the sickest solo of the run.  As if under a trance, his face began a series of contortions that resulted from the severe intensity at which he was focused on delivering the notes. His passionate playing lifted him onto his toes and his body undulated back and forth. It was epic. All the while, the remaining musicians on stage provided a solid foundation for his shredding guitar playing.  “No More Time,” “Jezebel,” and “Stop That Train,” were amazing, different and it was wonderful to hear a bass player with our favorite power trio. It must be mentioned that Neal Evan’s technique of playing the bass line on his clavinet is one of the most defining aspects of Soulive’s sound. So, the addition of one of the sickest bass players to the already magnificent power of Alan, Neal and Krasno projected and supported their expansive sound. When “How Sweet It Is To Be Loved By You” began to play, the same energy that comes from an audience hearing, “With A Little Help From My Friends,” came from this audience. The crowd went wild, couples turned to one another and kissed, and friends placed their arms around each others shoulders. It was friendly, loving and high-energy, creating a smile on every face. With happiness dripping from the rafters, “Them Changes,” a famous Band of Gypsy’s tune written by Buddy Miles, was loud and vibrant with Ryan Zoidis taking another bone-crushing baritone sax solo.

The jams that occurred throughout both sets were fantastic. Everyone felt at home, whether on stage or in the audience. Those comfortable, jamming encounters are what fan our passion for the funk. The funkiest encore of the run, “Afrika,” included a never-ending, thumping rage as Lettuce and Break Science drummer Adam Deitch, finally graced us with his presence. This was not to be taken lightly as Deitch is arguably one of the best drummers of our generation and a Bowlive mainstay in the previous years. As well, unannounced trumpeter Maurice Brown (Tedeschi Trucks Band) and Natalie Cressman (Trey Anastasio Band) ran out into the horn section during the first measures of the song.  At this point, Leo Nocentelli was on guitar along with ten other musicians on stage while Porter sang the tune, “Just Kissed My Baby!” POrter danced around on stage, would turn around to direct the horns and even ran over to Neal’s keyboards and played with him. It was madness, super genius madness and the crowd soaked it up like a sponge.

Set II:
Pungee (Meters cover w/ GPJ)
No More Okey Doke (Meters cover w/ GPJ)
Need More Time (w/ GPJ)
Jezebel (w/ GPJ)
Stop That Train (Bob Marley & Wailers cover w/ GPJ)
How Sweet It Is (To Be Loved By You) (Marvin Gaye cover w/ Leo and GPJ)
Them Changes (Buddy Miles cover w/ Leo and GPJ)
Encore: Africa (w/ Adam Deitch, Leo and GPJ)
Encore: Just Kissed My Baby (w/ Adam Deitch, Leo and GPJ)

The quality of music that came from the Brooklyn Bowl stage the past two weeks has ignited fires in our musical souls. Why would we want it to stop now? To the chagrin of those Soulive fans who couldn’t make it to as many shows they would like this year, there is only one night left of the Fourth Annual Bowlive residency. However, like every closing night of Bowlive, Soulive promises to make it best.  Last night’s guest, bassist George Porter Jr. will continuing his reign tonight as Bowlive’s #1 special guest.

Karen Dugan

TinyRager.com

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